The Nutcracker

Total Page:16

File Type:pdf, Size:1020Kb

The Nutcracker Study Guide Designs by Tim Goodchild The Nutcracker 1 Table of Contents Pre-performance activities and information TEKS Addressed ……………………………………………………………………………………………..3 Attending A Ballet Performance……………………………….………………………………....5 The Story Of Nutcracker ……………………………………………………………………...…..….6 The Science Behind The Snow………………………………………………………...…………….13 The Artists Who Created Nutcracker: Choreographers………….…..……….....15 The Artists Who Created Nutcracker: Composer……………….………..................16 The Artists Who Created Nutcracker: Designer..……………….………….....………17 Animals Around The World ……………………….………………………………………………18 Dancers From Around The World……………………..………………………….…………..…20 Look Ma, No Words ……………………………………………………...…………………..………...21 Why Do They Wear That? ……………………………………………………………………………..23 Ballet Basics: Fantastic Feet………………………………………………………….…………..24 Ballet Basics: All About Arms………………………………………………………..…………...25 Houston Ballet: 1955 To Today……………………………………………………………..…….26 Appendix A: Mood Cards………………………………………………………………………….…...27 Appendix B: Set Design……………………………………………………………….………………...28 Appendix C: Costume Design…………………………………………………….…………………..29 Appendix D: Glossary………………………………………………………………………….………..30 2 Learning Outcomes Students who attend the performance and utilize the study guide will be able to: Identify different countries from around the world; Describe the science behind the snow used in The Nutcracker; Describe at least one dance from The Nutcracker in words or pictures; Demonstrate appropriate audience behavior. Teks Addressed §112.11. Science, Kindergarten (6) Force, motion, and energy. The student knows that energy, force, and motion are related and are a part of their everyday life §117.112. Music, Grade 3 (1) Foundations: music literacy. The student describes and analyzes musical sound. §117.109. Music, Grade 2 (1) Foundations: music literacy. The student describes and analyzes musical sound. (6) Critical evaluation and response. The student listens to, responds to, and evaluates music and musical performances. §117.106. Music, Elementary (5) Historical and cultural relevance. The student examines music in relation to history and cultures. §114.22. Languages Other Than English Levels I and II (4)Comparisons. The student develops insight into the nature of language and culture by comparing the student's own language and culture to another. 3 Teks Addressed Continued §117.205. Dance, Middle School (5) Critical evaluation and response. The student makes informed personal judgments about dance and the meaning and role of dance in society. §117.306. Dance, High School (5) Critical evaluation and response. The student makes informed personal judgments about dance and the meaning and role of dance in society. Sugar Plum Fairy Design by Tim Goodchild 4 Attending a ballet performance Going to see The Nutcracker is the SAME as going to a movie: The lights dim before the performance begins and the theater stays dark during the ballet. Audience members are expected to stay quietly in their seats during the performance. Audience members may NOT take any pictures or video during the performance. This is distracting to the dancers and other audience members, AND The Nutcracker is copyrighted artistic materi- al. All cell phones and other electronic devices should be powered OFF as soon as you enter the theater. Going to see The Nutcracker is DIFFERENT than going to a movie: Ballet is performed live. The dancers can see and react to the audience! Audience members can show the dancers when they appreciate their performance! If something is funny, you can laugh! If the dancers are doing a great job, then you can clap! At the end of the show, the dancers all bow. This is called a curtain call. If you really loved the show, you can give the dancers a standing ovation to show that you appreciate their hard work! School clothes are appropriate, but some people like to dress up for ballet per- formances. Just make sure you are comfortable. Photos by Cameron Durham Enjoy the show! 5 The Nutcracker Adapted from a poem by D.L. Groover Based on Stanton Welch's holiday ballet It’s cold outside the Stahlbaum house On a German Christmas Eve, But inside warm and all dressed-up, Clara glows with make-believe. Feisty Fritz with doggy Heinz Runs in and misbehaves, But he is stopped mid-prank and scolded By the stern and firm Housemaid. “Put away your things, and wash your hands. Prepare for the party below.” Beloved toys are all picked up, Children cleaned and ready to go. Older sister Louise believes that she’s The fairest girl of all. She fusses and primps for she intends To be the belle of the ball. The Stanlbahm Family: Father, Mother, Louise, Fritz, & Clara Design by Tim Goodchild 6 Mother and father have gifts to bestow: For lovely Louise, a corsage for romance, Tin trumpet for Fritz, that will blurt and blow; And Pointe shoes for Clara who loves to dance. Surprise, surprise, when the family leaves, The toys jump out dancing with glee! Downstairs, the Christmas party guests Celebrate and feast, Suddenly, the window opens. Who could it be? It’s Drosselmeyer! The magic man, Here to amaze with his own Caravan. His ghostly troupe tells the tale of Soldier Brave who in love fell with Princess Fair, who loved him back But the jealous King wouldn’t stand for that. He turns the soldier into a wooden doll, And the princess’ tears begin to fall. Her tears are enchanted so it seems, And just like that, rat á la king! Drosselmeyer & Toy Soldiers Designs by Tim Goodchild 7 “But what's the ending,” Clara cries But Drosselmeyer will not say. Instead he gives her a Nutcracker doll, A gift for Christmas day. The little toy is strong and brave, And Clara laughs with glee; But jealous Fritz is not amused And breaks it on his knee. Drosselmeyer knows what to do And heals the doll with ease; He puts it high upon a shelf Out of Fritz’ reach. The party's over, the guests go home And the family all goes to bed. Clara sneaks down to find her doll, “He’s gone!” She’s filled with dread. Out of the clock, the magician appears And puts Nutcracker under the tree. With a wave of his hand, he casts a spell, Evil Rat King & Nutcracker Doll His magic powers are released! Design by Tim Goodchild 8 Christmas Tree Design by Tim Goodchild The tree grows and grows, and grows He stomps, he fumes, he throws a fit! with a roar, Furious with their nerve. Then bursts through the roof and “How dare a mere girl grows some more. and toy of wood The magic is strong, Seek to destroy my royal world?” the toys are life-sized. The rats grow too and are ready to He leads from behind, so like a rat. fight. Letting others fight, bullies do that. Against the rats the Nutcracker fights Clara snatches his crown, With brave Clara by his side. bops him once, The evil Rat King then appears And sends him on his way. With fierce anger in his eyes. The Rat King’s defeated, she’s broken the spell. Her doll’s a Prince, but all is not well. 9 The Prince is sad as he looks around For Princess Fair is not to be found. “Let us find her,” said Clara, always so bold. So they set off together, out into the cold. The wind blows, the snow falls fast But they were determined to accomplish their task. To their rescue comes a dazzling vision. The Queen of Snow, in icy precision. As Clara tells of the Rat King’s defeat, The Queen is amazed at their bravery. She leads them all to the Land of the Sweets. There she promises the Princess they’ll meet. When they finally arrive, they find in delight The Princess is a Sugar Plum, a beautiful sight. United at last with his long lost love, The Prince and Sugar Plum embrace in a hug. But wait, what's that scratching, I smell a rat! The King Rat returns, how dare he come back?! He means to do menace, he means to do harm, But Clara forgives him, such is her charm. Nutcracker Prince, Snow Queen, & Sugar Plum Fairy Designs by Tim Goodchild 10 In honor of kindness, the people rejoice, And celebrate loudly in sweet candy voice. Ambassadors from far and wide, shower their guests with gifts of all kind. The Spanish click in and bring their own bull, with fiery flamenco in chocolate mouthful. Arabs with lion have coffee to serve, Spicy and hot, an oasis hors d'oeuvre. With dragon and panda the Chinese parade, presenting their hosts with tea green as jade. With polar bears and sweets, the Russians arrive, But don’t be alarmed, they’re really quite kind. With strong and sleek wolf, the Danes strut on. Their sweetmeats are almonds: Copenhagen chiffon. Sailors and bull dog from England appear, with sticky, sweet toffee and holiday cheer. France hops in with a frog in tow, Bakers and chefs bring treats to bestow. Seated on the throne, with scepter and crown, Clara is Queen in bright-candy gown. Spanish woman, Arabian women, Chinese people, Russian man, Danish woman, English captain, & French baker Designs by Tim Goodchild 11 The Prince and his Princess are married at last. Clara waltzes with flowers, her troubles long past. But something's not right, what's that in the air? The sweets fade away, but do not despair. For where does she wake, and whom does she spy? Family faces around her, Christmas Day has arrived! Her Nutcracker doll held tight in her arms; Clara is fearless, no cause for alarm. She's home once again, her voyage complete, with a family who loves her – Her own Land of Sweets. The Nutcracker Design by Tim Goodchild 12 The science behind the snow Real snow is precipitation. It is crystals of water in the form of flakes. It’s not cold enough in the theater for real snow, and all that melted water would make it dangerous to dance.
Recommended publications
  • Study Guide for Teachers and Students
    Melody Mennite in Cinderella. Photo by Amitava Sarkar STUDY GUIDE FOR TEACHERS AND STUDENTS 1 TABLE OF CONTENTS PRE AND POST-PERFORMANCE ACTIVITIES AND INFORMATION Learning Outcomes & TEKS 3 Attending a ballet performance 5 The story of Cinderella 7 The Artists who Created Cinderella: Choreographer 11 The Artists who Created Cinderella: Composer 12 The Artists who Created Cinderella Designer 13 Behind the Scenes: “The Step Family” 14 TEKS ADDRESSED Cinderella: Around the World 15 Compare & Contrast 18 Houston Ballet: Where in the World? 19 Look Ma, No Words! Storytelling in Dance 20 Storytelling Without Words Activity 21 Why Do They Wear That?: Dancers’ Clothing 22 Ballet Basics: Positions of the Feet 23 Ballet Basics: Arm Positions 24 Houston Ballet: 1955 to Today 25 Appendix A: Mood Cards 26 Appendix B: Create Your Own Story 27 Appendix C: Set Design 29 Appendix D: Costume Design 30 Appendix E: Glossary 31 2 LEARNING OUTCOMES Students who attend the performance and utilize the study guide will be able to: • Students can describe how ballets tell stories without words; • Compare & contrast the differences between various Cinderella stories; • Describe at least one dance from Cinderella in words or pictures; • Demonstrate appropriate audience behavior. TEKS ADDRESSED §117.106. MUSIC, ELEMENTARY (5) Historical and cultural relevance. The student examines music in relation to history and cultures. §114.22. LANGUAGES OTHER THAN ENGLISH LEVELS I AND II (4) Comparisons. The student develops insight into the nature of language and culture by comparing the student’s own language §110.25. ENGLISH LANGUAGE ARTS AND READING, READING (9) The student reads to increase knowledge of own culture, the culture of others, and the common elements of cultures and culture to another.
    [Show full text]
  • Children's Books & Illustrated Books
    CHILDREN’S BOOKS & ILLUSTRATED BOOKS ALEPH-BET BOOKS, INC. 85 OLD MILL RIVER RD. POUND RIDGE, NY 10576 (914) 764 - 7410 CATALOGUE 94 ALEPH - BET BOOKS - TERMS OF SALE Helen and Marc Younger 85 Old Mill River Rd. Pound Ridge, NY 10576 phone 914-764-7410 fax 914-764-1356 www.alephbet.com Email - [email protected] POSTAGE: UNITED STATES. 1st book $8.00, $2.00 for each additional book. OVERSEAS shipped by air at cost. PAYMENTS: Due with order. Libraries and those known to us will be billed. PHONE orders 9am to 10pm e.s.t. Phone Machine orders are secure. CREDIT CARDS: VISA, Mastercard, American Express. Please provide billing address. RETURNS - Returnable for any reason within 1 week of receipt for refund less shipping costs provided prior notice is received and items are shipped fastest method insured VISITS welcome by appointment. We are 1 hour north of New York City near New Canaan, CT. Our full stock of 8000 collectible and rare books is on view and available. Not all of our stock is on our web site COVER ILLUSTRATION - #307 - ORIGINAL ART BY MAUD HUMPHREY FOR GALLANT LITTLE PATRIOTS #357 - Meggendorfer Das Puppenhaus (The Doll House) #357 - Meggendorfer Das Puppenhaus #195 - Detmold Arabian Nights #526 - Dr. Seuss original art #326 - Dorothy Lathrop drawing - Kou Hsiung (Pekingese) #265 - The Magic Cube - 19th century (ca. 1840) educational game Helen & Marc Younger Pg 3 [email protected] THE ITEMS IN THIS CATALOGUE WILL NOT BE ON RARE TUCK RAG “BLACK” ABC 5. ABC. (BLACK) MY HONEY OUR WEB SITE FOR A FEW WEEKS.
    [Show full text]
  • Vision / Dance Innovations
    2020 FEBRUARY PROGRAMS 02 /03 CLASSICAL (RE)VISION / DANCE INNOVATIONS The people you trust, trust City National. Top Ranked in Client Referrals* “City National helps keep my financial life in tune.” Michael Tilson Thomas Conductor, Educator and Composer Find your way up.SM Visit cnb.com *Based on interviews conducted by Greenwich Associates in 2017 with more than 30,000 executives at businesses across the country with sales of $1 million to $500 million. City National Bank results are compared to leading competitors on the following question: How likely are you to recommend (bank) to a friend or colleague? City National Bank Member FDIC. City National Bank is a subsidiary of Royal Bank of Canada. ©2018 City National Bank. All Rights Reserved. cnb.com 7275.26 PROGRAM 02 | CLASSICAL (RE)VISION PROGRAM 03 | DANCE INNOVATIONS TABLE OF CONTENTS 05 Greetings from the Artistic Director & Principal Choreographer 05 06 Board of Trustees Endowment Foundation Board 07 SF Ballet Leadership 08 Season News 10 Off Stage 13 Pointe and Counterpoint: The Story of Programs 02 and 03 14 PROGRAM 02 Classical (Re)Vision Bespoke Director's Choice Sandpaper Ballet 22 PROGRAM 03 Dance Innovations The Infinite Ocean The Big Hunger World Premiere Etudes 30 Artists of the Company 14 39 SF Ballet Orchestra 40 SF Ballet Staff 42 Donor Events and News 46 SF Ballet Donors 61 Thank You to Our Volunteers 63 For Your Information 64 Designing Sandpaper Ballet FOLLOW US BEFORE AND AFTER THE PERFORMANCE! San Francisco Ballet SFBallet youtube.com/sfballet SFBallet 42 San Francisco Ballet | Program Book | Vol.
    [Show full text]
  • TCV 151215 Broad Layout 1
    VIFE Spend a presents merry free Berkeley morning Christmas City with Santa Concert Ballet’s ‘Nutcracker’ Page 20 Page 19 Page 39 Scan for our FREE App or Search App Store for TCV 510-494-1999 [email protected] www.tricityvoice.com December 15, 2015 Vol. 14 No. 50 eginning Wednesday, December 16, the Filipino BCatholic community will gather for nine consecutive mornings in a series of liturgical masses called “Simbang Gabi” (Night Mass). Simbang Gabi is observed by Filipinos all over the world in anticipation of Christmas and to honor the Blessed Virgin Mary. As a traditional practice, the masses are held between the early hours of 4 a.m. to 6 a.m. or during late evenings. “It’s a tradition to help wel- come the birth of our Lord and Savior Jesus Christ in the days leading up to Christmas,” says Mark Bilbao, a devoted Catholic who has been attending Simbang Gabi masses with his extended family for about 20 years now. continued on page 39 Photo by Robbie Menor SUBMITTED BY MICHELLE POWELL for all the work they do for our community! Finger food and drinks will be available, as well Fremont Bank and Union City Chamber of as a chance to win a holiday gift donated by Commerce will be hosting a “Holiday Party our Chamber members. with the Cops” on Thursday, December 17. We will also be collecting canned food for The community is invited to enjoy wonderful Centro de Servicios, if attendees would like to holiday music while socializing with Chamber donate. members, Union City Police and City Offi- Set aside December 17 to join us at the Fre- cials, and other Union City residents.
    [Show full text]
  • Remembering Edouard Borovansky and His Company 1939–1959
    REMEMBERING EDOUARD BOROVANSKY AND HIS COMPANY 1939–1959 Marie Ada Couper Submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy 2018 School of Culture and Communication The University of Melbourne 1 ABSTRACT This project sets out to establish that Edouard Borovansky, an ex-Ballets Russes danseur/ teacher/choreographer/producer, was ‘the father of Australian ballet’. With the backing of J. C. Williamson’s Theatres Limited, he created and maintained a professional ballet company which performed in commercial theatre for almost twenty years. This was a business arrangement, and he received no revenue from either government or private sources. The longevity of the Borovansky Australian Ballet company, under the direction of one person, was a remarkable achievement that has never been officially recognised. The principal intention of this undertaking is to define Borovansky’s proper place in the theatrical history of Australia. Although technically not the first Australian professional ballet company, the Borovansky Australian Ballet outlasted all its rivals until its transformation into the Australian Ballet in the early 1960s, with Borovansky remaining the sole person in charge until his death in 1959. In Australian theatre the 1930s was dominated by variety shows and musical comedies, which had replaced the pantomimes of the 19th century although the annual Christmas pantomime remained on the calendar for many years. Cinemas (referred to as ‘picture theatres’) had all but replaced live theatre as mass entertainment. The extremely rare event of a ballet performance was considered an exotic art reserved for the upper classes. ‘Culture’ was a word dismissed by many Australians as undefinable and generally unattainable because of our colonial heritage, which had long been the focus of English attitudes.
    [Show full text]
  • Holidaytv © Seanlockephotography © | Seanlockephotography Dreamstime.Com
    HolidayTV © Seanlockephotography © | Seanlockephotography Dreamstime.com An enduring tale The story of a little girl whose favorite toy comes to life and whisks her away to a magical doll kingdom has become a Christmas staple the world over. Two hundred years after its initial publication, it’s clear just how beloved “The Nutcracker” truly is. HolidayTV | The Nutcracker A timeless Christmas companion ‘The Nutcracker and the Mouse King’ celebrates its 200th anniversary By Jacqueline Spendlove TV Media ore than 120 years ago, a ballet opened in St. Petersburg, just in time for MChristmas. It was not a success — it gleaned, in fact, much disparagement from critics — yet, with a production change here and a casting tweak there, “The Nutcracker” went on to become one of the most popular and well-known ballets in the world. One can’t begrudge composer Pyotr Ilyich Tchaikovsky his part in the show’s eventual success, yet the bulk of it undoubtedly goes to the storyteller. The tale of a little girl whose favorite toy comes to life and whisks her away to a magical doll king- dom has become a Christmas staple. The ballet is just one of many productions spawned by the origi- nal novella written in 1816 by E. T. A. Hoffmann, and with 2016 marking the 200th anniversary of the story, it’s clear just how truly enduring it is. Hoffmann’s “The Nutcracker and the Mouse King” has been adapted countless times for stage and screen. Details change here and there, but for the most part, they all follow the same basic structure, which sees little Marie (or Clara, as she’s called in the ballet) drawn into a dreamlike world where her toys come to life at Christmastime.
    [Show full text]
  • Nutcracker-Story-With-PBT-Photos.Pdf
    ACT ONE It is Christmas Eve in Pittsburgh over 100 years ago. This is the Stahlbaum’s house in the Shadyside neighborhood. On the street outside, Mr. Drosselmeyer and his Nephew unload Christmas gifts from their cart to take to the Stahlbaum’s party. The Nephew wears a mask because he has been cursed by the Rat King. The mask scares some of the people attending the party. Inside the house, Marie, Dr. Stahlbaum’s daughter, gets ready for the party. She’s reading a book called Kaufmann’s Christmas Stories for Boys and Girls. Her parents present her with two special gifts because she’s growing up: a beautiful scarf and a pair of pointe shoes. The Stahlbaum’s Christmas Eve party begins. There are adults and children dancing, trimming the Christmas tree, and exchanging gifts. Drosselmeyer and the Nephew enter the party. Drosselmeyer makes a pirate doll and other dolls come to life and dance! Drosselmeyer gives Marie a wooden Nutcracker doll. Marie’s brother Fritz breaks the Nutcracker, and the Nephew and Drosselmeyer fix it for Marie. Everyone at the party is afraid of the Nephew because of his mask. But Marie knows that he is kind. After much fun and festivity, the party ends. The guests leave, and the Stahlbaum family exchange their own gifts and go to bed. But Marie has forgotten her Nutcracker. As the clock strikes midnight, she tiptoes back downstairs to find him. Marie is not alone, though. The whole house is under a kind of spell. Giant rats and mice skitter after Marie.
    [Show full text]
  • Queensland Ballet
    Queensland Front cover: Rachael Walsh as Fonteyn & Christian Tátchev as Nureyev dance The Lady of the Camellias pas de deux in François Klaus’s Fonteyn Remembered; Photographer: Ken Sparrow Below: Sarah Thompson and children taking class at the Open Day BAllet ANNuAl REPORT 2010 Queensland Ballet Thomas Dixon Centre Cnr Drake St & Montague Rd West End Queensland 4101 Australia Phone: 07 3013 6666 Fax: 07 3013 6600 Email: [email protected] Web: www.queenslandballet.com.au Christian Tátchev and Keian langdon in François Klaus’s Don Quixote (excerpt), 50th Anniversary International Gala; Photographer: Ken Sparrow Christian Tátchev as Romeo & Rachael Walsh as Juliet in François Klaus’s Romeo & Juliet; Photographer: Ken Sparrow Queensland Ballet 2010 AnnuAl RepoRt CONTENTS Company profile 1 2010 highlights 2 50 year chronology 3 Chair’s review 7 Artistic Director’s report 8 Chief Executive Officer’s report 10 2010 performance summary 11 The Company 15 Acknowledgements 17 Directors’ report 19 Lead Auditor’s Independence Declaration 25 Financial report 26 Independent auditor’s report 41 Appendix A: 2010 strategic performance 42 Appendix B: Queensland Ballet Friends 44 QUEENSlAnD BALLET 1 COMPANY PROFILE Queensland Ballet is the advanced dance training to students in ouR DReAm Years 10, 11, and 12 at Kelvin Grove State flagship ballet company of the College as well as the introductory Track By 2013, Queensland Ballet will be State of Queensland, with a Dance and Mid-Trackdance programs for recognised, not only in Queensland but reputation for a fresh, energetic Years 3 to 9. throughout Australia and also overseas, for: and eclectic repertoire ranging Community education and outreach is » creating and presenting a broad from short works for children to achieved through a range of programs.
    [Show full text]
  • September 4, 2014 Kansas City Ballet New Artistic Staff and Company
    Devon Carney, Artistic Director FOR IMMEDIATE RELEASE CONTACT: Ellen McDonald 816.444.0052 [email protected] For Tickets: 816.931.2232 or www.kcballet.org Kansas City Ballet Announces New Artistic Staff and Company Members Grace Holmes Appointed New School Director, Kristi Capps Joins KCB as New Ballet Master, and Anthony Krutzkamp is New Manager for KCB II Eleven Additions to Company, Four to KCB II and Creation of New Trainee Program with five members Company Now Stands at 29 Members KANSAS CITY, MO (Sept. 4, 2014) — Kansas City Ballet Artistic Director Devon Carney today announced the appointment of three new members of the artistic staff: Grace Holmes as the new Director of Kansas City Ballet School, Kristi Capps as the new Ballet Master and Anthony Krutzkamp as newly created position of Manager of KCB II. Carney also announced eleven new members of the Company, increasing the Company from 28 to 29 members for the 2014-2015 season. He also announced the appointment of four new KCB II dancers, which stands at six members. Carney also announced the creation of a Trainee Program with five students, two selected from Kansas City Ballet School. High resolution photos can be downloaded here. Carney stated, “With the support of the community, we were able to develop and grow the Company as well as expand the scope of our training programs. We are pleased to welcome these exceptional dancers to Kansas City Ballet and Kansas City. I know our audiences will enjoy the talent and diversity that these artists will add to our existing roster of highly professional world class performers that grace our stage throughout the season ahead.
    [Show full text]
  • Houston Ballet Revives Artistic Director Stanton Welch AM's Epic
    FOR IMMEDIATE RELEASE MEDIA CONTACT: Christian Brown Public Relations Director [email protected] [email protected] HOUSTON BALLET REVIVES ARTISTIC DIRECTOR STANTON WELCH AM’S EPIC MADAME BUTTERFLY HOUSTON, TEXAS [September 2016] From September 22 - October 2, Houston Ballet will revive artistic director Stanton Welch AM’s signature work Madame Butterfly in a program with his one-act ballet Son of Chamber Symphony. Set to Puccini’s memorable score, in an arrangement by John Lanchbery, Madame Butterfly chronicles the love story of the beautiful geisha Cio-Cio San who is betrothed to marry the handsome American, Lieutenant Pinkerton. The production unfolds dramatically on Peter Farmer’s picturesque sets, which beautifully evoke the mystery and languor of 19th century Japan. Opening the program is the company premiere of Mr. Welch’s Son of Chamber Symphony, set to music by John Adams. Houston Ballet will give seven performances of Madame Butterfly with Son of Chamber Symphony at Wortham Theater Center in downtown Houston. Tickets may be purchased by calling 713-227-2787 or by visiting www.houstonballet.org. Houston Ballet’s Son of Chamber Symphony and Madame Butterfly program is generously sponsored by: The Wortham Foundation, Inc. INTERNATIONAL ACCLAIM FOR MADAME BUTTERFLY Premiered by The Australian Ballet in 1995, Madame Butterfly was Mr. Welch’s first full-length ballet. The two-act work tells the story of the beautiful geisha Cio-Cio San who renounces her faith and her family to wed Lieutenant Pinkerton, the U.S. Naval officer who is betrothed to another woman back in the States. The centerpiece of the work is a ravishing wedding night pas de deux between Pinkerton and Cio-Cio San, which closes the first act.
    [Show full text]
  • And We Danced Episode 3 Credits
    AND WE DANCED WildBear Entertainment, ABC TV and The Australian Ballet acknowledge the Traditional Owners of country throughout Australia and recognise their continuing connection to land, waters and culture. We pay our respects to their Elders past and present. EPISODE THREE Executive Producers Veronica Fury Alan Erson Michael Tear Development Producer Stephen Waller INTERVIEWEES Margot Anderson Dimity Azoury Peter F Bahen Lisa Bolte Adam Bull Ita Buttrose AC OBE Chengwu Guo David Hallberg Ella Havelka Steven Heathcote AM Marilyn Jones OBE Ako Kondoo David McAllister AC Graeme Murphy AO Stephen Page AO Lisa Pavane Colin Peasley OAM Marilyn Rowe AM OBE Amber Scott Hugh Sheridan Fiona Tonkin OAM Elizabeth Toohey Emma Watkins Michael Williams SPECIAL THANKS TO David McAllister AC David Hallberg Nicolette Fraillon AM 1 Artists of The Australian Ballet past and present Artists of Bangarra Dance Theatre past and present Orchestra Victoria Opera Australia Orchestra The Australian Ballet School Tony Iffland Janine Burdeu The Wiggles The Langham Hotel Melbourne Brett Ludeman, David Ward ARCHIVE SOURCES The Australian Ballet ABC Archives National Film and Sound Archive Associated Press Getty The Apiary The Wiggles International Arts Newspix Bolshoi Ballet American Ballet Theater FOOTAGE The Australian Ballet Year of Limitless Possibilities, 2020 Brand Film Artists of The Australian Ballet Valerie Tereshchenko, Robyn Hendricks, Dimity Azoury, Callum Linnane, Jake Mangakahia Choreography David McAllister AM Cinematography Brett Ludeman and Ryan Alexander Lloyd Produced by Robyn Fincham and Brett Ludeman Filmed on location at Mundi Mundi Station, via Silverton NSW The Living Desert Sculpture Park, Junction Mine, The Imperial Fine Accommodation, Broken Hill NSW.
    [Show full text]
  • Round 13: Tossups
    Bergen Academies Spring Quizbowl Tournament II [BASQT II] Written by David Song, Simon Seal, Ryan Murphy, Caleb Shi, Mollie Bakal, John Ferrante, Marvin Yu, Michael Gleyzer, Derek Lin, and Nathan Tang, Bergen County Academies; Zachary Stier, Princeton University; Rebecca Rosenthal, Swarthmore College. ​ ​ ​ ​ ​ ​ Special thanks to Jon Pinyan. Round 13: Tossups 1. After his arrival in the Grand Isle, one character notices that his wife is badly sunburnt despite going for a swim at the start of this novel. Doctor Mandelet asks if the main character has been associating herself with “pseudo-intellectual women” after her husband expresses his concerns about her. Even though he is in (*) Mexico, Robert Lebrun is longed for by the main character, who regrets nearly being seduced by Alcee Arobin and is concerned for her fidelity to Leonce. For ten points, name this 1899 novel about Edna Pontellier written by Kate Chopin. ANSWER: The Awakening ​ 2. This virus has a roughly-spherical envelope with proteins gp41 and gp120 on the outside, and produces 9 genomic products with just a 9.2 kilobyte genome. A consequence of this virus was initially referred to as GRID because rare conditions such as (*) Kaposi's sarcoma and Pneumocystis jiroveci pneumonia began occurring in large ​ numbers in drug users and gay men. This retrovirus can be transmitted via bodily fluids and infects CD4+ T cells. For ten points, name this virus which causes Acquired Immune Deficiency Syndrome. ANSWER: Human Immunodeficiency Virus (do not prompt on AIDS) ​ ​ ​ ​ ​ ​ 3. Severus and Maximin, not Constantine, were the benefactors of one of these events at Nicomedia in 305.
    [Show full text]